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Monday, January 7, 2019

Writing - part x731, Writing a Novel, Power of Settings

7 January 2019, Writing - part x731, Writing a Novel, Power of Settings

Announcement: Delay, my new novels can be seen on the internet, but my primary publisher has gone out of business—they couldn’t succeed in the past business and publishing environment.  I'll keep you informed, but I need a new publisher.  More information can be found at  Check out my novels--I think you'll really enjoy them.

Introduction: I wrote the novel Aksinya: Enchantment and the Daemon. This was my 21st novel and through this blog, I gave you the entire novel in installments that included commentary on the writing. In the commentary, in addition to other general information on writing, I explained, how the novel was constructed, the metaphors and symbols in it, the writing techniques and tricks I used, and the way I built the scenes. You can look back through this blog and read the entire novel beginning with

I'm using this novel as an example of how I produce, market, and eventually (we hope) get a novel published. I'll keep you informed along the way.

Today's Blog: To see the steps in the publication process, visit my writing website and select "production schedule," you will be sent to
The four plus one basic rules I employ when writing:
1. Don't confuse your readers.
2. Entertain your readers.
3. Ground your readers in the writing.
4. Don't show (or tell) everything.
     4a. Show what can be seen, heard, felt, smelled, and tasted on the stage of the novel.
5. Immerse yourself in the world of your writing.
These are the steps I use to write a novel including the five discrete parts of a novel:

1.      Design the initial scene
2.      Develop a theme statement (initial setting, protagonist, protagonist’s helper or antagonist, action statement)
a.       Research as required
b.      Develop the initial setting
c.       Develop the characters
d.      Identify the telic flaw (internal and external)
3.      Write the initial scene (identify the output: implied setting, implied characters, implied action movement)
4.      Write the next scene(s) to the climax (rising action)
5.      Write the climax scene
6.      Write the falling action scene(s)
7.      Write the dénouement scene
I finished writing my 29th novel, working title, Detective, potential title Blue Rose: Enchantment and the Detective.  The theme statement is: Lady Azure Rose Wishart, the Chancellor of the Fae, supernatural detective, and all around dangerous girl, finds love, solves cases, breaks heads, and plays golf.  
Here is the cover proposal for Blue Rose: Enchantment and the Detective
Cover Proposal
The most important scene in any novel is the initial scene, but eventually, you have to move to the rising action. I am continuing to write on my 30th novel, working title Red Sonja.  I finished my 29th novel, working title Detective.  I’m planning to start on number 31, working title Shifter
How to begin a novel.  Number one thought, we need an entertaining idea.  I usually encapsulate such an idea with a theme statement.  Since I’m writing a new novel, we need a new theme statement.  Here is an initial cut.

For novel 30:  Red Sonja, a Soviet spy, infiltrates the X-plane programs at Edwards AFB as a test pilot’s administrative clerk, learns about freedom, and is redeemed.

For novel 31:  TBD 

Here is the scene development outline:

1. Scene input (comes from the previous scene output or is an initial scene)
2. Write the scene setting (place, time, stuff, and characters)
3. Imagine the output, creative elements, plot, telic flaw resolution (climax) and develop the tension and release.
4. Write the scene using the output and creative elements to build the tension.
5. Write the release
6. Write the kicker
Today:  Why don’t we go back to the basics and just writing a novel?  I can tell you what I do, and show you how I go about putting a novel together.  We can start with developing an idea then move into the details of the writing. 

You must have a protagonist and an antagonist. You may have a protagonist’s helper.  Then there are other characters.  Let’s talk about characters in general and then specifically. 

I’ve been writing about choosing and developing protagonists who are interesting and entertaining to your readers.  Readers like characters who they can intellectually identify with.  These are the characters who appeal to them.  If there is no intellectual connection, there is usually no connection.  We saw this by the many characters whom readers can’t share any or many characteristics, but the characters still appeal.

For Christmas, I gave you scenes from my writing that were set during Christmas.  I hope this was enlightening and entertaining to you.  I just wanted to entertain you for the Christmas season.  I also wanted to show you how important real events and settings are to novels.

Authors have no responsibility except to entertain; however, entertainment, in my mind, means to connect with readers in providing suspension of disbelief as well as a real and sustained environment (setting).  I put setting in parenthesis because I want this to be very clear.  I’ve written about this before.  Authors can create a world for a novel, or they can develop a reflective or a real world for a novel. 

If you remember a real world or setting is a setting that is in every way like the world we know.  A reflective world view is a setting that reflects a world view.  For example, dragons, witches, and elves are not in the real world.  A real world setting can’t have them.  On the other hand, dragons, witches, and elves reflect a fictional world view that has historical and belief antecedents.  There are people in the past, present, and future world who believe or imagine these creatures exist.  They have written about them, defined them, and described them.  The author who uses a reflected worldview uses a worldview that already exists in literature and history.  The literature and history may be fiction or not supported by science, but it exists as a worldview.  A created worldview comes out of the mind of the writer.

When an author develops a real, representative, or created worldview, he or she almost never starts from zero.  In fact, I’d say no author starts with zero.  Staring with zero is almost not an option.  An author always starts with something. 

The author who writes a real setting uses the real world.  The author who uses a reflected worldview studies the real world and the imagined ideas for that real world, and then interjects them into that real world.  The author who writes a created setting starts with the real world and then varies it to develop the world of the novel.

For example, the author of a created worldview might take an airport and turn it into a spaceport.  You can’t build a spaceport from nothing.  Most readers will recognize the spaceport designed from an airport.  On the other hand, if you used a completely different model, no reader might be able to comprehend the developed spaceport.  In any case, an effective author starts with the real world and then projects either a reflected or a created worldview on it.

Christmas is an expression of the real world.

More tomorrow.

For more information, you can visit my author site, and my individual novel websites:

fiction, theme, plot, story, storyline, character development, scene, setting, conversation, novel, book, writing, information, study, marketing, tension, release, creative, idea, logic

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